Made in L.A.
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Made in L.A. - Trailer - POV | PBS - Trailer
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They Made the Land(en)
They Made the Land (1938) is a documentary showcasing how land in Scotland was reclaimed and cultivated for agriculture. It explores the challenges of making a living from the land while highlighting the contributions of agricultural research and animal breeding. Produced as part of a series of seven documentaries for the 1938 Empire Exhibition, the film was created under the supervision of pioneering documentarian John Grierson.
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A photographer and a filmmaker challenge each other to shoot—one to photograph the other to film—two young actresses, one from Tokyo, the other from the countryside. The photographer seeks naturalism in his compositions, and Kawase observes and comments on his work. The competition between the photographer, the filmmaker, and the actresses creates a charged atmosphere.
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Time Being(en)
Gunvor Nelson stares intently at her mother Carin, a woman whose body has been devastated by the challenges of her last days on this earth. In three astute shots, Nelson looks with honesty rather than awe at a woman whose spirit has somehow flown away but whose body still demands a share of our time and our space.
Cathedrals of Culture(en)
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Nepal Forever(ru)
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Olympia Part Two: Festival of Beauty(de)
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Full Metal Village(de)
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The Zerda or the Songs of Forgetting(fr)
“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.
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